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Transitional Objects, (2019)

Untitled (Petra), 2019

Painted steel, string and yarn

Untitled (Tommy), 2019

Painted steel and yarn


Can We Just Cuddle?, (2019)

Cot frame, prayer shawl, yarn box with yarn, and a candlelighter with bell snuffer covered in turmeric

30" x 45" x 44"


Touchy Subject, (2019)

Steel and yarn

1” x 1” x 12”

Hold me and then put me back in my place.


Relic of Matt’s Headband, (2018)

Matt’s headband

5” x 5” x 2”

A remnant from “The Apotheosis of Matt”, a performance on September 27th in which Matt transcended into veneration through his seeking holiness through exercising faith, forgiveness and charity.


Matt Raising Money for Access to Clean Water, (2018)

Offering box, brass bowl, table, signage, donations and souvenirs


When you choose to make an offering into the offering box (suggested donation of $5), please take a souvenir to remind you of the gift you gave and the realization of Matt’s miracle. By donating to this cause, you will virtually be turning these souvenirs into water in Africa, similarly to Jesus turning water into wine in Cana. If you are still wondering what to do with your disposable income, the offering box is a great place to dispose of it.

Matt Raised $45.10 during the fundraiser.


2018 Shed Storage Unit: Constructed, (2017)

2018 Shed Storage Unit: Constructed, (2017)

Shed materials, tools, and found objects

2' x 3' x 8'

Here at Divinitive Logistics Solutions, we present to you a model of our new 2018 shed storage unit, available now for pre-order. In this package, we provide the materials for a shed, to be constructed for you at a young age by your parents and trusted community members - a shed to be used throughout your life to store memories and truths that confirm and perpetuate your objective existence. The internal space is assembled by family and community members as well, storing the tools used to build the structured space. The ladder creates a framework laid out for you to climb and place monuments to your personal ideological journey, giving you a chance to make this shed your own. But as you get older, you learn that you have the keys to this shed, and you have access to the tools added by you and other influential people in your life. So questions begin to surface: Why does this shed exist? Are the tools I placed in here really of my own volition? Do I even need this shed? What would my parents think if I tore this shed down and returned the package in exchange for cash or another piece of furniture? How come I see the shed as absurd, but my parents willingly and lovingly use their own shed given to them by their parents?


Trees, (2015)

Wood, Tree Tags, Acrylic Paint

70" x 4" x 100"



Voice(s), (2018)

Voice(s), (2018)

Audio and Light Installation

“In the darkness something was happening at last.  A voice had begun to sing…it seemed to come from all directions at once…Its lower notes were deep enough to be the voice of the earth herself.  There were no words.  There was hardly even a tune.  But it was beyond comparison, the most beautiful noise he had ever heard.  It was so beautiful Digory could hardly bear it.” - The Magician's Nephew by C. S. Lewis

Before entering the space, the artist reads to us a section of text from a book. It sounds like a creation story of sorts, but not from a typical world religion or cosmology. The text elicits wonder and curiosity as it refers to sounds that created a world. While listening to the artist, there are faint sounds coming from within the space. As soon as the door to the exhibition space closes, Darkness swallows up the viewer’s field of vision, surrounding them with visual and proverbial isolation. Consciousness shifts as the viewer must trust their touch and listening to navigate the gallery space. Simultaneously, sounds come from nowhere and hover across the ears. Coming from somewhere above the viewer are that sound like hums or drones, similar to the tones from a hearing exam. Though they are the same volume and characterized by their soft diminishing voice, they have different notes and seem to come from around the room. There seems to be some sort of composition in place, but the notes as sporadic enough to seem algorithmic. The viewer sits on the wooden bench in the center of the room, and after 5 minutes of complete darkness, a shift occurs in the room. The rods and cones begin to recognize a dim blue light on the back wall—faint but present. Originally feeling lonely and isolated, the dim blue light quells these fears with an emerging unity.